Viewers need only a willingness to have fun and not mind when they realize the movie was never intended to be profound. Full Frontal is merely human, funny and unusual -- and that's enough.

At times, it actually hurts to watch.

Promised to be the season's thoughtful action picture, turns out to have few thoughts and no thrills.

An elegant study in perversity.

Fascinating.

Keenly observed and refreshingly natural.

It's really just old- fashioned melodrama, dressed up with lustrous cinematography and a few nods to history.

Business intrudes on art.

Nearly unbearable.

It's a respectable B- movie -- airy, inconsequential and a little too cute at times, but fairly entertaining all the same.

This summer's comic gem.

Walks a sometimes-shaky line between tenderness and schmaltz.

The movie gradually works its way, with quiet intelligence and apparent conviction, until there's no turning from it. An hour in, and we're on that boat.

Enthralling, entertaining feature.

May hit a few wrong notes, but it strikes an emotional chord.

Witty, adult treatment of an offbeat subject: a pubescent boy's infatuation with an older woman.

Has a smart mix of things going for it, including a self-effacing sense of humor.

Requires some patience. Once you get into its rhythm -- including the long flashbacks and intermittent use of the screen as an Internet chat room -- the movie becomes a heady experience.

Gainsbourg's character seems too sweet to be true until she tangles with her onscreen director over nudity. The fire Gainsbourg brings to the scene suggests she's had similar battles.

Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.

Has a weirdly divided structure that alternates Irwin's nature segments with clumsy dramatic footage set in the CIA.

Glorious moments aplenty despite director who's just in the way.

Truly awful.

Goes nowhere.

A wretched comedy about middle-aged romance.

Cheesy.

Subdued yet percolating with suppressed emotion.

A powerful new film from British writer-director Sandra Goldbacher.

Not a heist film, a thriller, a twisted romance, a film noir or a character study, but a unique concoction that bends all these genres to its vision.

Appealing movie, one of the summer's pleasant surprises.

Retains the earlier film's ability to delight the viewer with surprise effects and flights of fancy, only now the effects are better.

Clearly, great fun.

The result is a gutsy little picture and a nice slice of life.

A sweet-natured reconsideration of one of San Francisco's most vital, if least widely recognized, creative fountainheads.

A hit- and-miss affair, consistently amusing but not as outrageous or funny as Cho may have intended or as imaginative as one might have hoped.

It is great summer fun.

Adams sparkles with quick-mindedness and verbal agility. This is a worthy and underused talent.

An amazing film amazingly tasteless, tin-eared and awkward, but amazing all the same. Anyone with a predilection for bad movies might want to see it, if only in an inspecting-the-wreckage spirit, since because movies this misguided come but once or twice a year.

A stink bomb of a movie.

Women had to struggle for years to launch their own basketball league; it's a shame that the first movie to address their success is a drag comedy, and a lousy one at that.

It succeeds, occasionally.

An attempt at an epic. Sayles assembles a big cast and creates a mosaic of interweaving characters and story lines. But the stories are bland, the connections are incidental and the dramatic payoff is nonexistent.

Here's a tiresome feature that could be made into a wonderful 20-minute film -- or, with a few adjustments, into two or three 10-minute shorts.

This is the kind of pure entertainment that, in its fullness and generosity, feels almost classic.

Extraordinary.

The result is a genre-bending yarn, an entertaining mix of period drama and flat-out farce that should please history fans.

Despite some feints in a soulful direction, the picture has none of the interior quality of a multifaceted war film like Terrence Malick's "The Thin Red Line." Woo is all about elegant surfaces, not inner conflicts.

We're left with a metallic aftertaste.

Do you really want to spend money watching what is essentially marginality, or would those dollars be better used to see a better film or even buy a good book?

The result is not only entertaining but also refreshing, a shameless crowd-pleaser with a healthy cynicism about itself.

A touching but odd mix of live action and animation.

It's fast, snappy and entertaining in a superficial way. But it lacks gravity and authenticity and seems more like a product than an attempt to tell a story.

Director Bernard Rose has created a committed, intelligent and fascinating piece of work with no irony about it.

A film of real beauty, which is surprising, since it's not a movie of beautiful sentiments or settings.

Divine cast keeps 'Ya-Ya Sisterhood' from falling flat

It's an endurance test. Though never boring, the movie is a fairly long slog through the snow.

Yet there's no getting around one awkward fact. The picture, which turns on a cataclysmic act of terrorism within U.S. borders, was made for a different audience from the one that's about to see it.

The picture is crammed with shameless satire, engaging moments of pure silliness and jokes that border on the outrageous. It combines relentless energy with an aura of good nature for a formula that works.

A charming 2001 Oscar nominee for best foreign-language film.

A smooth, elegiac mood piece.

Fans of Nijinsky will savor every minute of Cox's work. Those unfamiliar with Nijinsky but who are curious enough to see this film may find themselves frustrated by its nontraditional documentary style.

This is a shrewd and effective film from a director who understands how to create and sustain a mood.

The film deserves some kind of honor for its campy originality, smart and funny dialogue, and provocative yet sensitive look at the making of a film circa 1969.

What's exciting is that the Sprechers have delved into territory that is normally the domain of literature and have emerged with a film that's neither overly literary nor simplistic.

The result is a mishmash that is sometimes moving, sometimes absurd and most of the time just oddly off balance.

It's the most tension-producing movie out there right now -- in the best way, it's almost unbearable.

Haunting psychological drama.

The result is a frustrating, boring mess.

A stunning directing debut -- is anything but sentimental about old- country customs.

The movie's shift into an implausible thriller magnifies its lack of character development. But Gosling gives an impassioned performance throughout.

In addition to being a smart comedy and an excellent showcase for Grant, it's an honest movie about childhood that avoids sappiness and sentiment and goes in unexpected directions.

Lucas knows his fans are un-boreable, un-annoyable and inexhaustible. For an artist, that's more a curse than a blessing.

Instead of a balanced film that explains the zeitgeist that is the X Games, we get a cinematic postcard that's superficial and unrealized.

It's a fascinating concept, gorgeously rendered. Seeing the paint actually dry, however, would probably be more fun than most of this overly expository film.

It's that rare kind of movie that comes along only a handful of times each year -- gut-level entertainment that's oddly profound.

Lame, haphazard teen comedy.

Rippingly good, old-fashioned movie epic.

There's a lot of bad hair and incoherent, drug-addled remarks, but inside a minute we get the joke, and it isn't much.

The pace is slow and the story neither takes off nor arrives anywhere.

One never knows where "Warm Water" is going and even though the film's objective feels a little fuzzy even at the end a parable on female sexuality? an ode to liberty? there's such a joy in the telling that it doesn't matter terribly.

This is an excellent comedy, and the fact that it's made by a filmmaker with even better movies on his resume is nothing to hold against it.

The superhero part of the movie will leave audiences with a flat feeling, thanks to computery-looking special effects and a sagging story line.

Features some disturbing clips.

If anyone wants to watch naked men in the shower, naked men doing erotic dancing, naked men in bed and almost-naked men pumping iron, this is the film to see.

Embellished but triumphant.

More depressing than liberating, but it's never boring.

It's impossible to imagine why Lions Gate, the indie distributor that released "Monster's Ball," would bother with this garbage.

Exhilarating but blatantly biased.

The result is a worthy woman's film and Jolie's best showcase to date.

The premise of Jason X is silly but strangely believable.

Sexual curiosity is a very dangerous thing in Rain, a dazzling mood piece from New Zealand filmmaker Christine Jeffs.

All the movie's narrative gymnastics can't disguise the fact that it's inauthentic at its core and that its story just isn't worth telling.

What is meant to be brave comes off as gimmicky and immature.

It's a buoyant comedy with more warmth and generosity of spirit than anything else in theaters right now.

The old saying, "It's hard to find good help nowadays" takes on a new meaning in Murderous Maids.

Yet it fails to enchant for a reason that might not be fair, but that's just how it is: We've seen outer space simulated so well in sci-fi movies that the real thing seems like old stuff.

A near miss, a respectable but uninspired thriller that's intelligent and considered in its details, but ultimately weak in its impact.

Think of Enigma as a cerebral thriller about the horror of war and the hope that people had in spite of it.